bio box?

There seems to be some misunderstandung of what was stated.
Like any other live human being I do have an ego but I would never want to be in the middle of the auditorium alongside the punters per se as that will be a distraction for both them and me. (maybe not never but the impracticability of it rules it out)
I would refer you back to the comment on the workable alternative.
And to want to be lit also, I thought the warm props ego's were about as big as you could get. I am there to do a job and not be seen, but it is nice to be aknowledged at the very least with a credit in the programme which is the usual case.

What you're talking about, Joe, sounds like the ideal professional venue, and I would agree in the main, but I am involved with fairly basic limited community theatre venues which are not purpose built and they don't have any monitoring in the box, other than to open the window, so to be able to hear what is going on onstage and to be able to balance the prerecorded sound with their live sound is a battle at times. Add to that they are not miked (how many venues have the required hardware? - doesn't seem to be a priority) and don't have the strongest of voices to project or don't know how to and face upstage etc... and the noise of the dimmers and fan(s) of the power amps and the position of the house speakers which usually leaves a lot to be desired and I think you may hear what I am getting at. (I have trained as an audio engineer)
Perhaps we should go back to the previous century or further and do away with all electronic audio and have all effects and accompaniment live and everyone learns how to project.
Asking the director during rehearsal "how does it sound?" can be very vague at times especially when they are not audio type people and having an empty house versus a full or in between one can alter the acoustics greatly. However I have happened across a couple of directors who know exactly what they want in the audio area and they have given me very precise instructions as to levels etc, even providing fine tuning after or during the first night because of those changes with having an audience to soak up the sound. But then as an audio engineer I am aware of those potential changes and try as best as I can within the constraints of the bio box "monitoring" to adjust.

I agree with crgwllms comments. But an auditorium mic and bio box speakers - once again I have not been anywhere in the community theatre scene that has them. (limited exposure?)
If I go to a professional venue I expect to see the audio somewhere in the house (about two thirds back and off centre) as that is the only way to do it properly - lighting and audio do not need to be next to each other, if they need to communicate that's what headsets are for, but they will no doubt have them to allow comms with the SM.

I am not advocating being in the house for every show which requires the playing of prerecorded audio - too difficult setting up and clearing down for every performance as most are multiple use shared halls. But for the major productions (usually musicals) then yes, I want to be in there where I can hear what is going on exactly as the customers will. I figure if I can provide the best service that is possible then I am doing what I am supposed to be. The difference between trying to balance the sound from in the box as opposed to in the house can mean that the punters go away saying it was ok to good or absabloomin' fantastic. And I feel good because I have given the best I can with available equipment.

Cheers